University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Winter 2011 Review of Lee Lawrie's Prairie Deco: History in Stone at the Nebraska State Capitol by Gregory Paul Harm Robert Haller University of Nebraska - Lincoln Follow this and additional works at: http://digitalcommons.unl.edu/greatplainsquarterly Part of the American Studies Commons, Cultural History Commons, and the United States History Commons Haller, Robert, "Review of Lee Lawrie's Prairie Deco: History in Stone at the Nebraska State Capitol by Gregory Paul Harm" (2011). Great Plains Quarterly. 2649. http://digitalcommons.unl.edu/greatplainsquarterly/2649 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 56 GREAT PLAINS QUARTERLY, WINTER 2011 and displayed in photos these works in situ and in their early stages as sketches and maquettes. Those who already share his love of the build­ ing and sculpture will rejoice in the many excellent photos, not only of familiar panels, but also the small details to be found on walls, windows, and ceilings in the Capitol. These photos will win new fans and send readers back to the Capitol to note these details. Harm also refers readers to his website Bisonwerks.com, and promises follow-up studies. A reader, however, might wish that this self-published book had been passed by a copy editor and a fact checker. It is disconcert­ ing to read that habeas corpus means "under most circumstances, one cannot be charged with murder if there is no corpse," or that the Magna Carta was "a feudal compact imposed on the people by King John," as against a compact imposed on the King by his Barons, or that the "Spaniards owned sugar planta­ Lee Lawrie's Prairie Deco: History in Stone at the tions in the Caribbean called economendias," Nebraska State Capitol. By Gregory Paul Harm. rather than encomiendas, or that the Emperor Austin, TX: Gregory Paul Harm and Susanne Justinian (rather than Constantine) had the Patricia Harm, 2008. 193 pp. Illustrations, bib­ Hagia Sophia built. However, these and other liography. $75.00 cloth, $49.99 paper. similar puzzlers do not seriously distract from the spirited accounts of Harm's pleasures and This book is a tribute to the power of art, discoveries. specifically, of the sculpture outside and inside And while Harm quotes and paraphrases the Nebraska State Capitol. It so impressed interesting primary materials, has read and cited Gregory Harm in his youth that he has under­ relevant works of scholarship, and wisely con­ taken in maturity an enthusiastic exploration firmed his judgments with Capitol Administra­ of the aesthetic and historical background tor Robert Ripley, Tourism Supervisor Roxanne of that sculpture and its creator Lee Lawrie Smith, and retired UNL Architecture Professor (1877-1963). He found his way to the Lawrie Dale Gibbs (from whom he heard the story of archives at the Library of Congress, the the rescue of Lawrie's maquettes), he is not him­ University of Nebraska, and the Capitol itself, self a trained scholar. and stood in awe before Lawrie's monumental What the book with all its charm and rev­ works for Rockefeller Center and other public elations calls for is the skill of an art historian buildings around the country. His book makes to elucidate the stylistic models and originality the case that Lawrie should be more deeply of Lawrie's technique and an iconographer studied to appreciate the masterful integration to explain how sculpture and story can carry of his works into their architectural settings meaning. The factual tidbits Harm attaches and the skill by which he transferred a complex to his photographic survey of the sculpture are symbolic program into accessible panels and only randomly explanatory of the stories or figures. figures represented. Harm in this book has uncovered the Commenting on the panel Deborah Judging human and spiritual context of the sculpture, Israel, for instance, Harm identifies the Palm of Deborah under which she judged (Judges 4:5), and says, "This panel reinforces the Mosaic covenant-that God's will protects his chosen people-but only if they obey His law." We see in the panel Deborah with her left hand staying four men with spears, one of whom holds a chained, prostrate woman who lays pleading hands in Deborah's lap. Deborah is a commanding woman acting in defense of a helpless victim of masculine military rigor. Since that scene does not represent Deborah's part in the Judges narrative nor show any aspect of the Mosaic covenant, a viewer will still be left wondering about its place in a History of Law. The work of elucidating the meaning of these works of art in a way that accounts for their style would properly supplement Harm's labor of love; in this book he models the affec­ tion for the art and artist which must motivate such a study. ROBERT HALLER Department of English, Emeritus University of Nebraska-Lincoln .